30 DAYS OF FANDOR, DAY 30: LA JALOUSIE (2013)

Jealousy la jalousie philippe garrel

 Day 30: LA JALOUSIE (JEALOUSY) (Philippe Garrel, France, 2013)

There’s a density to the images of a Philippe Garrel film that I’m increasingly convinced are exceptional to the medium; rarely fussy or even overtly composed, typically it’s just actors talking and interacting in a series of underfurnished interior rooms connected by transitory public spaces like streets and parks. And yet, somehow, each moment seems imbued with a kind of mythic aura I tend to associate more with Greek tragedy than the cinema. La jalousie replays a story of triangulated romantic complications of the type Garrel explores in many of his films, with the autobiographical overtones taking on additional layers of meaning with the casting of his son, Louis, as his stand-in (his daughter, Esther, has a major role as Louis’s character’s brother—so many layers of familial implication braided into this film!).

The magnificent Anna Mouglalis, who I think has definitely confirmed her place as my favorite contemporary French actress (sorry Isabelle and Juliette), is the world-weary actress Louis leaves his wife for in the film’s opening sequence, and just as one assumes they know what kind of “jealously” the title refers to yet another subtle variation surfaces, and by the end it’s clear a whole typography of jealous impulses—romantic, familial, professional, etc—have been delicately excavated and examined. And none of this conveys that immense beauty of the images themselves, the work of Willy Kurant (who lensed for Varda, Godard, Robbe-Grillet, Marker, Gainsbourg and others in the sixties and seventies). The oversaturated black and white suspends 2010’s Paris in a space beyond the trappings of any specific year (it feels like 1963 just as much as 2013). In the most condensed of running times—this one clocks in at a characteristically succinct 77 minutes—Garrel is able to articulate and convey more than most films twice as long.

[Watch La jalousie on Fandor here.]